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The Wilton Diptych (c.1395-1399) is a portable altarpiece taking the form of a diptych. It was painted for King Richard II. Source: [http://www.wga.hu/frames-e.html?/html/m/master/yunk_fr/yunk_fr1/ Web gallery of Art] {{PD}} [[Category:The Wilton Diptyc

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1.
Edmund the Martyr
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Edmund the Martyr was king of East Anglia from about 855 until his death. Almost nothing is known about Edmund and he is thought to have been of East Anglian origin and was first mentioned in an annal of the Anglo-Saxon Chronicle, written some years after his death. The kingdom of East Anglia was devastated by the Vikings, who destroyed any evidence of his reign. Later writers produced fictitious accounts of his life, asserting that he was born in 841, the son of Æthelweard, an obscure East Anglian king, whom it was said Edmund succeeded when he was fourteen. Later versions of Edmunds life relate that he was crowned on 25 December 855 at Burna, which at that time functioned as the capital. In 869, the Great Heathen Army advanced on East Anglia and killed Edmund. According to one legend, his head was thrown into the forest. Commentators have noted how Edmunds death bears resemblance to the fate suffered by St Sebastian, St Denis, a coinage commemorating Edmund was minted from around the time East Anglia was absorbed by the kingdom of Wessex and a popular cult emerged. In about 986, Abbo of Fleury wrote of his life, the saints remains were temporarily moved from Bury St Edmunds to London for safekeeping in 1010. His shrine at Bury was visited by kings, including Canute, who was responsible for rebuilding the abbey. During the Middle Ages, when Edmund was regarded as the saint of England, Bury and its magnificent abbey grew wealthy. Edmund is first mentioned in the Anglo-Saxon Chronicle annal for 870, by tradition, Edmund is thought to have been born in 841 and to have acceded to the East Anglian throne in around 855. Nothing is known of his life or reign, as no contemporary East Anglian documents from this period have survived, later medieval chroniclers have provided dubious accounts of his life, in the absence of any real details. The most credible theory for Edmund’s parentage suggests Ealhhere, brother-in-law to King Æthelstan of Kent, as Edmund’s father, Edmund cannot be placed within any ruling dynasty. Numismatic evidence suggests he succeeded Æthelweard and it is known that a variety of different coins were minted by Edmunds moneyers during his reign. The letters AN, standing for Anglia, only appear on the coins of Edmund and Æthelstan of East Anglia, later specimens read + EADMUND REX and so it is possible for his coins to be divided chronologically. Otherwise, no chronology for his coins has been confirmed and it relates that Her rad se here ofer Mierce innan East Engle and wiñt setl namon. And þy wint Eadmund cying him wiþ feaht. and þa Deniscan sige naman þone cyning ofslogon. by tradition the leaders who slew the king were Ivar the Boneless and his brother Ubba

2.
Edward the Confessor
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Edward the Confessor, also known as Saint Edward the Confessor, was among the last Anglo-Saxon kings of England, and usually considered the last king of the House of Wessex, ruling from 1042 to 1066. When Edward died in 1066, he was succeeded by Harold Godwinson, Edgar the Ætheling, who was of the House of Wessex, was proclaimed king after the Battle of Hastings in 1066, but never ruled and was deposed after about eight weeks. As discussed below, historians disagree about Edwards fairly long reign and his nickname reflects the traditional image of him as unworldly and pious. Confessor reflects his reputation as a saint who did not suffer martyrdom, some portray this kings reign as leading to the disintegration of royal power in England and the advance in power of the House of Godwin, because of the infighting after his heirless death. About a century later, in 1161, Pope Alexander III canonised the late king, Saint Edward was one of Englands national saints until King Edward III adopted Saint George as the national patron saint c. His feast day is 13 October, celebrated by both the Church of England and the Catholic Church in England and Wales, Edward was the seventh son of Æthelred the Unready, and the first by his second wife, Emma of Normandy. Edward was born between 1003 and 1005 in Islip, Oxfordshire, and is first recorded as a witness to two charters in 1005 and he had one full brother, Alfred, and a sister, Godgifu. In charters he was always listed behind his older half-brothers, showing that he ranked behind them, during his childhood England was the target of Viking raids and invasions under Sweyn Forkbeard and his son, Cnut. Following Sweyns seizure of the throne in 1013, Emma fled to Normandy, followed by Edward and Alfred, Sweyn died in February 1014, and leading Englishmen invited Æthelred back on condition that he promised to rule more justly than before. Æthelred agreed, sending Edward back with his ambassadors, Æthelred died in April 1016, and he was succeeded by Edwards older half-brother Edmund Ironside, who carried on the fight against Sweyns son, Cnut. According to Scandinavian tradition, Edward fought alongside Edmund, as Edward was at most thirteen years old at the time, Edmund died in November 1016, and Cnut became undisputed king. Edward then again went into exile with his brother and sister, in the same year Cnut had Edwards last surviving elder half-brother, Eadwig, executed, leaving Edward as the leading Anglo-Saxon claimant to the throne. Edward spent a quarter of a century in exile, probably mainly in Normandy and he probably received support from his sister Godgifu, who married Drogo of Mantes, count of Vexin in about 1024. In the early 1030s Edward witnessed four charters in Normandy, signing two of them as king of England, Edward was said to have developed an intense personal piety during this period, but modern historians regard this as a product of the later medieval campaign for his canonisation. In Frank Barlows view in his lifestyle would seem to have been that of a member of the rustic nobility. He appeared to have a slim prospect of acceding to the English throne during this period, Cnut died in 1035, and Harthacnut succeeded him as king of Denmark. It is unclear whether he was intended to have England as well and it was therefore decided that his elder half-brother Harold Harefoot should act as regent, while Emma held Wessex on Harthacnuts behalf. In 1036 Edward and his brother Alfred separately came to England, Alfred was captured by Godwin, Earl of Wessex who turned him over to Harold Harefoot

3.
International Gothic
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International Gothic is a period of Gothic art which initially developed in Burgundy, France and northern Italy in the late 14th and early 15th century. It then spread widely across Western Europe, hence the name for the period. The main influences were northern France, the Duchy of Burgundy, the Imperial court in Prague, royal marriages such as that between Richard II of England and Anne of Bohemia helped to spread the style. It was initially a style of courtly sophistication, but somewhat more robust versions spread to art commissioned by the mercantile classes. Usage of the terms by art historians varies somewhat, with using the term more restrictively than others. Some art historians feel the term is in many ways, since it tends to skate over both differences and details of transmission. The important Bohemian version of the style developed in the court of Charles IV, Holy Roman Emperor in Prague, which for a brief period became a leading force in the development of European art. Charles came from the Luxembourg dynasty, was tutored by the future Pope Clement VI, the Bohemian style initially lacked the elongated figures of other centres, but had a richness and sweetness in female figures that were very influential. Charles had at least one Italian altarpiece, apparently made in Italy and sent to Prague, for St. Vitus Cathedral in Prague, he first used a French architect, and then the German Peter Parler. As the style developed in Northern Europe, Italian artists were in turn influenced by it, from this period come the earliest surviving panel portraits of monarchs, and royal manuscripts show a greatly increased number of realistic portraits of the monarch who commissioned them. In painting and sculpture, the style is known in German as the Schöne Stil or Weicher Stil. Stylistic features are a dignified elegance, which replaces monumentality, along with rich decorative colouring, elongated figures and it also makes a more practised use of perspective, modelling, and setting. Figures begin to be more space in their settings, and interest is taken in realistically depicted plants. In some works, above all the calendar scenes of the Très Riches Heures du Duc de Berry. Decoration became increasingly ornate as the style developed in Northern Europe, claus Sluter was the leading sculptor in Burgundy, and was one artist able to use the style with a strongly monumental effect. Most sculptors are unknown, and the style tended to survive longer in Northern sculpture than painting, smaller painted wood figures, most often of the Madonna, were significant, and being relatively portable, probably helped to disseminate the style across Europe. In Burgundy Jean Malouel, Melchior Broederlam and Henri Bellechose were succeeded by Robert Campin, master Bertram and Conrad von Soest were leading regional masters in Germany, working largely for city burghers. Surviving panel paintings of the best quality from before 1390 are very rare except from Italy, many of these artists moved between countries or regions during their careers, exposing them to the styles of other centres

4.
Adobe Photoshop
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Adobe Photoshop is a raster graphics editor developed and published by Adobe Systems for macOS and Windows. Photoshop was created in 1988 by Thomas and John Knoll and it can edit and compose raster images in multiple layers and supports masks, alpha compositing and several color models including RGB, CMYK, CIELAB, spot color and duotone. Photoshop has vast support for file formats but also uses its own PSD. In addition to graphics, it has limited abilities to edit or render text, vector graphics, 3D graphics. Photoshops featureset can be expanded by Photoshop plug-ins, programs developed and distributed independently of Photoshop that can run inside it, Photoshops naming scheme was initially based on version numbers. Photoshop CS3 through CS6 were also distributed in two different editions, Standard and Extended, in June 2013, with the introduction of Creative Cloud branding, Photoshops licensing scheme was changed to that of software as a service rental model and the CS suffixes were replaced with CC. Historically, Photoshop was bundled with software such as Adobe ImageReady, Adobe Fireworks, Adobe Bridge, Adobe Device Central. Alongside Photoshop, Adobe also develops and publishes Photoshop Elements, Photoshop Lightroom, Photoshop Express, collectively, they are branded as The Adobe Photoshop Family. It is currently a licensed software, Photoshop was developed in 1987 by the American brothers Thomas and John Knoll, who sold the distribution license to Adobe Systems Incorporated in 1988. Thomas Knoll, a PhD student at the University of Michigan, began writing a program on his Macintosh Plus to display images on a monochrome display. This program, called Display, caught the attention of his brother John Knoll, an Industrial Light & Magic employee, Thomas took a six-month break from his studies in 1988 to collaborate with his brother on the program. Thomas renamed the program ImagePro, but the name was already taken, during this time, John traveled to Silicon Valley and gave a demonstration of the program to engineers at Apple and Russell Brown, art director at Adobe. Both showings were successful, and Adobe decided to purchase the license to distribute in September 1988, while John worked on plug-ins in California, Thomas remained in Ann Arbor writing code. Photoshop 1.0 was released on 19 February 1990 for Macintosh exclusively, the Barneyscan version included advanced color editing features that were stripped from the first Adobe shipped version. The handling of color slowly improved with each release from Adobe, at the time Photoshop 1.0 was released, digital retouching on dedicated high end systems, such as the Scitex, cost around $300 an hour for basic photo retouching. Photoshop files have default file extension as. PSD, which stands for Photoshop Document, a PSD file stores an image with support for most imaging options available in Photoshop. These include layers with masks, transparency, text, alpha channels and spot colors, clipping paths and this is in contrast to many other file formats that restrict content to provide streamlined, predictable functionality. A PSD file has a height and width of 30,000 pixels

5.
Cloth of gold
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Cloth of gold or gold cloth is a fabric woven with a gold-wrapped or spun weft—referred to as a spirally spun gold strip. In most cases, the yarn is silk wrapped with a band or strip of high content gold. In rarer instances, fine linen and wool have been used as the core and it is mentioned on both Roman headstones for women and in the Book of Psalms as a fabric befitting a princess. The Ancient Greek reference to the Golden Fleece is seen by some as a reference to gold cloth, Cloth of gold has been popular for ecclesiastical use for many centuries. Under Henry VII of England, its use was reserved to royalty and it is also used today by companies such as Charvet for neckwear. Few extant examples have survived in Roman provincial tombs, later producers of cloth of gold include the Byzantine Empire and Medieval Italian weavers, particularly in Genoa, Venice and Lucca. In the 14th century, cloth of gold made in China was called marramas, a similar cloth of silver was also made. It is still made in India and Europe today, most modern metallic fabrics made in the West are known as lamé. Cloth of gold is a name occasionally applied to the venomous Conus textile species of cone shell. Field of the Cloth of Gold Samite The Roman Textile Industry, a Birthday Tribute to John Peter Wild. Edited by Penelope Walton Rodgers, et al

6.
Dunstable Swan Jewel
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The Dunstable Swan Jewel is a gold and enamel brooch in the form of a swan made in England or France in about 1400 and now in the British Museum, where it is on display in Room 40. The jewel is a medieval example of the then recently developed. The jewel is formed as a standing or walking mute swan gorged with a collar in the form of a royal crown with six fleur-de-lys tines. There is a chain terminating in a ring attached to the crown. The swan is 3.2 cm high and 2.5 cm wide, the swans body is in white enamel, its eyes are of black enamel, which also once covered the legs and feet, where only traces now remain. Tiny fragments of pink or red enamel remain on the beak, the jewel is a unique survival of the most expensive form of livery badge, otherwise only known from inventories and representations in paintings. In the Wilton Diptych, Richards own badge has pearls on the antler tips, which the angels badges lack. In 1483 King Richard III ordered 13,000 fustian badges with his emblem of a boar for the investiture of his son Edward as Prince of Wales, a huge number given the population at the time. The British Museum also has a flat lead swan badge with low relief, the mob attacked him, pulling him off his horse and the badge off him, and he had to be rescued by the mayor from suffering serious harm. Over twenty years later, after Gaunts son Henry IV had deposed Richard, many of the large number of badges of various liveries recovered from the Thames in London were perhaps discarded hurriedly by retainers who found themselves impoliticly dressed at various times. Richard offered to give up his own badges, to the delight of the House of Commons of England, but the House of Lords refused to give up theirs, and the matter was put off. In 1390 it was ordered that no one below the rank of banneret should issue badges, and no one below the rank of esquire wear them. In the end it took a determined campaign by Henry VII to largely stamp out the use of badges by others than the king. The widespread use of the swan as a badge derives from the legend of the Swan Knight. A group of Old French chansons de geste called the Crusade cycle had associated the legend with the ancestors of Godfrey of Bouillon, the hero of the First Crusade. Although Godfrey had no issue, his family had many descendants among the aristocracy of Europe. The swan with the crown and chain is associated with Lancastrian use, it echoes the crown and chain of Richard IIs white hart. He declared to Parliament that he had exchanged liveries with his uncles as a sign of amity at various moments of reconciliation and it was also used by his grandson Edward of Westminster, Prince of Wales before his death in the Battle of Tewkesbury in 1471

7.
Heraldic badge
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A heraldic badge, an emblem, an impresa, or device, or personal device worn as a badge indicates allegiance to, or the property of, an individual or family. Medieval forms are called a livery badge, and also a cognizance. They are para-heraldic, not necessarily using elements from the coat of arms of the person or family they represent, though many do and their use was more flexible than that of arms proper. Badges worn on clothing were common in the late Middle Ages, livery collars were also given to important persons, often with the badge as a pendant. The badge would also be embroidered or appliqued on standards, horse trappings, livery uniforms, many medieval badges survive in English pub names. Badges are occasionally taken from a charge in the coat of arms. More often, badges commemorated some remarkable exploit, illustrated a family or feudal alliance, some badges are rebuses, making a pun or play-on-words of the owners name. It was not uncommon for the same personage or family to use more than one badge, in the Wilton Diptych, Richards own badge has pearls on the antler tips, which the angels badges lack. The British Museum also has a badge in flat lead. The mob attacked him, pulling him off his horse and the badge off him, over twenty years later, after Gaunts son Henry IV had deposed Richard, one of Richards servants was imprisoned by Henry for continuing to wear Richards livery badge. Many of the number of badges of various liveries recovered from the Thames in London were perhaps discarded hurriedly by retainers who found themselves impoliticly dressed at various times. Richard offered to give up his own badges, to the delight of the House of Commons of England, but the House of Lords refused to give up theirs, and the matter was put off. In 1390 it was ordered that no one below the rank of banneret should issue badges, livery badges issues by guilds and corporations, and mayors, were exempt, and these continued in use until the 19th century in some cases. In fact modern historical analysis of the records shows few prosecutions. The Collar of Esses became in effect a badge of office, indeed, by the 16th century, emblems were adopted by intellectuals and merchants who had no heraldry of their own. Later emblem books contained large numbers of emblems, partly to allow people to one they thought suited them. The device, to all intents and purposes identical to the Italian impresa, structurally, the device normally consists of two parts while most emblems have three or more. These include the porcupine of Louis XII with its motto Eminus et cominus or De pres et de loin and these and many more were collected by Claude Paradin and published in his Devises héroïques of 1551 and 1557, which gives the motto of Louis XII as Ultos avos Troiae

8.
Color space
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A color space is a specific organization of colors. In combination with physical device profiling, it allows for reproducible representations of color, for example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB color model. When defining a color space, the reference standard is the CIELAB or CIEXYZ color spaces. For example, although several specific color spaces are based on the RGB color model, colors can be created in printing with color spaces based on the CMYK color model, using the subtractive primary colors of pigment. The resulting 3-D space provides a position for every possible color that can be created by combining those three pigments. Colors can be created on computer monitors with color spaces based on the RGB color model, a three-dimensional representation would assign each of the three colors to the X, Y, and Z axes. Note that colors generated on given monitor will be limited by the medium, such as the phosphor or filters. Another way of creating colors on a monitor is with an HSL or HSV color space, based on hue, saturation, with such a space, the variables are assigned to cylindrical coordinates. Many color spaces can be represented as three-dimensional values in this manner, but some have more, or fewer dimensions, Color space conversion is the translation of the representation of a color from one basis to another. The RGB color model is implemented in different ways, depending on the capabilities of the system used, by far the most common general-used incarnation as of 2006 is the 24-bit implementation, with 8 bits, or 256 discrete levels of color per channel. Any color space based on such a 24-bit RGB model is limited to a range of 256×256×256 ≈16.7 million colors. Some implementations use 16 bits per component for 48 bits total and this is especially important when working with wide-gamut color spaces, or when a large number of digital filtering algorithms are used consecutively. The same principle applies for any color space based on the color model. CIE1931 XYZ color space was one of the first attempts to produce a space based on measurements of human color perception. The CIERGB color space is a companion of CIE XYZ. Additional derivatives of CIE XYZ include the CIELUV, CIEUVW, RGB uses additive color mixing, because it describes what kind of light needs to be emitted to produce a given color. RGB stores individual values for red, green and blue, RGBA is RGB with an additional channel, alpha, to indicate transparency. Common color spaces based on the RGB model include sRGB, Adobe RGB, ProPhoto RGB, scRGB, one starts with a white substrate, and uses ink to subtract color from white to create an image

Fashion in fourteenth-century Europe was marked by the beginning of a period of experimentation with different forms of …

Clothing of the first half of the 14th century is depicted in the Codex Manesse. In the lower panel, the man is dressed as a pilgrim on the Way of St James with the requisite staff, scrip or shoulder-bag, and cockle shells on his hat. The lady wears a blue cloak lined in vair, or squirrel, fur.